Amazon Prime has released season 3 of their excellent original series Goliath and I pretty much binged the thing in one night. While the first entry set the stage for a darkly funny, deeply emotional and consistently eccentric brand of storytelling, season 2 diverged from that into the decidedly perverse and unconventional in terms of a narrative bereft of catharsis, obvious beats or satisfactory resolution. That’s not to say it wasn’t good, it was just… different. This third season both continues to trailblazer those off colour paths and also gets back to the roots of what made the first season such an engaging genesis.
Billy Bob Thornton’s Billy McBride takes on the case of his old buddy (Griffin Dunne) whose wife (Sherilyn ‘Audrey Horne’ Fenn) has a deep connection to their past and has now died under mysterious circumstances. This eventually pits McBride and his trusty motley crew up against the deranged Blackwood clan and their acolytes, an elite society of billionaire ranchers who are corrupt to the bone, willfully malicious and have been stealing the county’s water for their own gross financial gain. Led by brother and sister Wade (Dennis Quaid) and Diana (Amy Brenneman), they and their peeps prove to be a titanic adversary for Billy & Co. and the story here feels fresh, funny, immediate and fully fleshed out right down to the smaller roles and one episode arc players. I love this show because it doesn’t just cast ‘of the moment’ stars, attractive young blood or flavour of the month hotshots like a lot of other stuff, it delves back into the collective cinematic and televised past and pulls out some truly talented people that we maybe haven’t seen onscreen in the past decade or so but certainly haven’t forgotten and recall with a smile as soon as they show up. As such we get excellent work from folks like Beau Bridges, Illeanna Douglas, Julia Jones, the great Graham Greene, Monica Potter, musician Paul Williams and season 1 villain William Hurt who comes back with a nasty vengeance here.
Thornton rocks the McBride role, cultivating the jet black humour, deadpan self deprecation and fiercely guarded but incredibly soulful empathy that make the character come alive and the performance stick in your mind. Nina Arianda returns as ruthless scene stealer Patty Solis-Papagian (pronounce it wrong and I wouldn’t wanna be you) and steals scenes harder than she ever has, this girl whips up Emmy worthy work and makes it seem effortless. The season focuses a lot on the villains and their struggles as well as their wicked acts, particularly Quaid and Brenneman who are both flat out phenomenal. There’s this kinky, just plain wrong aesthetic between the two of them but they never seem like moustache twirlers or one note monsters, always complicated and conflicted. You get a sense of region, of history and of real human strife on their side of things and I heartily applaud all artists involved for the work put in to invoke such a world and such reactions from me. The narrative is airtight to this season too and feels as conclusive as a hammer blow while still leaving plenty of room for more story and keeping one ever present, omniscient antagonist in the wings for more storytelling later. Also kept up is the strange, experimental and increasingly surreal style, and you haven’t seen anything until you’ve seen Dennis Quaid take peyote and dream that he’s singing Conway Twitty’s Some Say Love to an auditorium packed with other Dennis Quaid’s. He’s got some pipes too. All in all this is such a rich, unique and invigorating piece of storytelling and I hope they never cancel it.
-Nate Hill
